This is my second time on the jury of the Raindance film festival. I was first involved with the judging last year and enjoyed myself a lot. The festival organisers send you hundreds of films on disc, so you get to see this amazing range of independent films, a real snapshot of the world. It shows what you can do with very little budget. I suppose they asked me because of the parallels between independent cinema and punk rock. It used to be that the film industry was such a mammoth corporate outfit that it worked against that kind of independent spirit. Now it seems a lot more democratic. Instead of forming a group, you can get your friends together and go make a movie.

Looking back, it strikes me that the Clash were always a very cine-literate group. We'd seen all the right films and knew all the references. People always talk about punk as this Year Zero thing, whereas all popular culture is always stealing from itself, feeding off itself - like Soylent Green. When the Clash first went over to New York we were lucky to get into the editing suite when Martin Scorsese was putting the finishing touches to Raging Bull. Later we appeared - very fleetingly - in one of the street scenes in King of Comedy. Blink and you'll miss us.

I've always been interested in the way music and film fit together. When you put music to a picture, different stuff happens; this weird kind of alchemy. I thought that music was used really well in Shane Meadows' This is England. And there was this great film from last year, Kidulthood, that used all these British grime bands and really showed what's going on now.

Of course it helps if the film-maker knows their music. People like Scorsese or David Chase have a very strong and varied musical knowledge, and it shows in their work. The same goes for Matt Groening, who actually used to work as a music critic.

Maybe I'd like to become more actively involved in film-making one of these days. I know that Joe did quite a lot of it, during his wilderness years. And some of what he did was really good, like the soundtrack for Walker. Plus he was very funny acting in that film as well - playing a bearded lout who's always grabbing the women. But I had the impression that he felt that it wasn't the real thing. It wasn't proper work. It wasn't fulfilling him. That might explain my wariness. And if I were to get involved, it would probably be more behind-the-scenes. I spent a lot of time at the start of the millennium learning how to edit, which is really just an extension of the art of the DJ or record producer.

For the timebeing I'll stick with my duties at Raindance. This year I've expanded my repertoire, if you like, and will be presenting my favourite film during the festival. The film I've chosen is Performance and we're hoping that Nic Roeg will join us on stage to answer audience questions after the screening. Performance is a film about the end of the dream, the end of the 60s, which is also part of what punk was about. It's a film set in the London where I grew up; in locations that I walk past every day. So whenever I walk near Powis Square I find myself thinking about that film.